Author: manuscrypts

  • Future Tensed

    Thanks to Neal Stephenson’s The Confusion, (Vol 2 of The Baroque Cycle) I’ve had to do something that I haven’t done since I started reading – read two books in parallel. Every 200 pages of The Confusion, I take a break and read a volume of The Hunger Games. Neal Stephenson, to me, is genius, and I’ve been a fan since I first read Snowcrash. I could speed read The Confusion, but I really want to pay attention and understand the nuances, the humour, the larger thought and so on. I cannot do that for 800 odd pages, hence this shift.

    I only understood the ‘connection’ after I started reading The Hunger Games. The Baroque Cycle is set in late 17th-early 18th centuries, and uses an excellent mix of historical and fictional characters to cover a whole variety of themes. In some ways, it uses the past to understand the present. The Hunger Games, on the other hand, is set in a dystopian future, and shows a potential fate of humanity. It uses cues from the present to predict the future. The connection ends there, almost. Though at massively different levels, both require imagination, the former at a much more larger scale.

    That’s what led me to think about imagination in the present. We’re in the midst of probably the biggest upheavals in the history of humanity – new technologies emerging at a rapid pace, institutional realignment, socio-cultural changes, behaviour alteration and so on. All of this means, that collectively, we’re having to run really fast just to cope. Where does that leave time for imagination? In fact, such is the assault on senses that I wonder if anything really disruptive is being written in the science fiction genre these days (I hope to be proven wrong and pointed in the right direction) because except for things like teleportation and time travel, pretty much everything that was science fiction is getting played out now, and so busy are we – trying to keep abreast – that science fiction is merely extrapolating the present (read) or giving alternate versions.

    There is a term in psychology called Functional Fixedness, wiki-defined as “a cognitive bias that limits a person to using an object only in the way it is traditionally used.” With my limited knowledge, I wonder if that’s the dystopian future of the human imagination.

    until next time, the end of collective imagination

  • Caesar’s Women (Masters of Rome, #4)

    Colleen McCullough

    The fourth in the ‘Masters of Rome’ series, covering 10 years from 68-58 BC, chronicling the rise of Gaius Julius Caesar, with most of the narrative set in Rome itself. Despite being part of the book’s name, the first half of the book does not really focus on Caesar himself. Much of it is spent on building up the rest of the cast who would play an important role in Caesar’s life during this period – from his allies like Pompey the Great and Marcus Crassus to enemies like Cato and Bibulus, and even those who, in modern terminology could be called frenemies like Cicero and Clodius. However, the author remains true to the title by delving into the minds and lives of the various women who essay a key role in Caesar’s life – his mother Aurelia, his lover Servilia, his daughter Julia and even the non-influencer – his wife Pompeia, whom he later divorces – though to a minimal extent.

    Cicero, in this book, is shown in poor light, and the author does say in her notes that his peers didn’t think too much of him, as per the documentation available from that era. The other important character who makes an extended appearance is Brutus, originally betrothed to Caesar’s daughter Julia.

    It then follows Caesar’s political career covering his curule aedileship, his election as Pontifex Maximus, governorship of Further Spain and his first consulship. The book also highlights possibly the only chink in Caesar’s otherwise impenetrable armour – an indifference towards money – though he manages to learn his lessons in that respect towards the end of the book.

    The book not only chronicles how Caesar uses various tools, even marriage (his own as well as his daughter’s), to out-manoeuver his enemies and further his rise to prominence, but also manages to give a good idea of how Roman society functioned, in terms of culture, belief systems and hierarchy. It minimally shows Caesar’s military genius but quite elaborately showcases his political and legal brilliance, aided in no small measure by his mother Aurelia, and which culminates in the formation of the triumvirate with Marcus Licinius Crassus and Gnaeus Pompeius Magnus.

    The book sets quite a lively pace though it does require concentration to follow the various alliances that are made and broken at regular intervals. As in the previous books, and probably more so because of the new characters, the large secondary cast is not easy to follow. The final pages of the book point to a change in Caesar after his year as consul and sets the stage for the next book.

  • The Black Pearl

    Pirated from Bangalore Mirror

    There’s something very ironic about ‘borrowing’ a ship’s name from The Pirates of the Caribbean franchise, and using it to run a restaurant with a pirate theme! Even more ironic when it’s located right next to an establishment called Empire! (map) But that’s exactly what The Black Pearl has done, and they have obviously invested a lot of effort into doing justice to the theme. Across three floors – the top floor akin to an upper deck with open sky above – there are décor elements that accentuate this – anchors, cannons, mannequins, chains and ropes, skeletons, swords. There is a tinge of tackiness too, like the huge bones that became the butt of many jokes, and it was a little funny to have pirate-costumed service staff valet parking and speaking in Hindi. But ambiance is only part of the tale – the service, and the food had a role to play too, and that’s where the seas got rough! In the end, keeping with the theme, looting did happen, in the form of a bill.

    Except for some pirate lingo, there was hardly anything on the menu (though the one we got was quite different) that went with the theme. When we began ordering the starters, we realised it was pointless to navigate the Continental and Chinese sections since they weren’t available. That went for some of the more interesting (sounding) drinks as well! From the Indian menu, we asked for a Til aur Paneer ka Tikka, an Afghani Mutton Boti Kabab, Aatishi Murgh and a Pirate Special Macchi Tikka. The veg representation was superficially spicy, though the paneer itself seemed quite fresh. We were served what was claimed to be the chicken, but easily sensed that it wasn’t. For a while, we pondered the various possibilities, until we were told that it was just the mutton dish. A little too bland. The Aatishi Murgh made an effort to live up to its name in terms of spiciness, and was quite a favourite. The Macchi Tikka was mildly spicy and quite tasty. In addition to some standard fare, we had ordered a Masala Cola. That turned out to be a Hajmola cola in disguise, with an overdose of masala! Exactly the opposite happened with the Pomegranate ‘N’ Tamarind Martini – it had no trace of a tamarind flavour. In the meanwhile, the ship was under aural attack – a singer was methodically gunning down favourite numbers!

    It took so long for the main course to arrive that we joked that it had to be brought from the mainland! The Dal Peshawari was watery and had none of the butter and cream that was promised! We unanimously agreed that the Navaratna Korma deserved a spot in the desserts section! The Malai Gosht turned out to be its near-cousin, the only consolation was that the meat was well cooked. The Murgh Matka suffered from a methi overdose, though the boneless chicken was tender. The Ulte Tawa ka Paratha was mentioned in the menu as a must-try, but was nothing special. Ditto for the Afghani Kulcha, which had a few dry fruits slivers tossed into it for the name’s sake! The excitement was delivered as Crispy Roomali Roti – another ‘must try, but deservedly so. It was huge and we thought this was the Family Naan we’d ordered! When we realised it wasn’t, we had a sinking feeling, soon justified when we saw the size of the actual Family Naan! Gigantic and they obviously had the Indian joint family in mind! Thankfully, it was quite good.

    Meanwhile, penance was happening in the form of bottled water, which was being served for free! The singer, as though understanding his limitations, was now crooning ‘Please Forgive Me’

    From about ten dessert options on the menu, only four were available, and that included ice cream! Considering the experience thus far, we decided to play safe and try just the Gulab Jamun. That was surprisingly not bad! By this time, the singer had reached ‘Take me home’, and we heartily agreed.

    For about Rs.1800, you could share a cocktail, a non veg starter, a couple of main course dishes, rotis and a dessert. (Inclusive of taxes and service charge) But ‘Arrgo’ would be a pithy way to describe our predicament – six of us held hostage in a pirate-themed restaurant serving not-so-great food. Such is the restaurant scene in Koramangala that a new place needs to run a tight ship just to keep its head above the water. Shape up or ship out, as the saying goes, and it’s mercilessly enforced. There would be first visits courtesy the theme, and the place was full while we were there, but unless there’s a sea change in the service, food and pricing, The Black Pearl could soon be in Davy Jones’ Locker!

    Black Pearl, Vikas Tech Park, 2nd & 3rd Floor, #105 1 A Cross Road, Koramangala Industrial Layout, Jyoti Niwas College Road, 5th Block, Koramangala, Ph: 080-64333111

  • Humachines and the role reversal

    In his post ‘Virtual People‘, Scott Adams writes that his generation would be the last of the ‘pure humans’  raised with no personal technology. Someday historians will mark the smartphone era as the beginning of the Cyborg Age. From this day on, most kids in developed countries will be part human and part machine. As technology improves, we will keep adding it to our bodies.

    Singularity has appeared on this blog in various forms, and in at least a couple of posts, I have written about the augmented human, and like the proverbial frog in the slowly-boiling water, we wouldn’t know when it happened. (check this post for a fantastic short film on the subject) In fact, medical applications of 3D Printing are already accepted and on the rise. Not just ‘accessories like hearing aids or dental braces, we have moved on to a lower jaw, (previous link) 75% of the skull, an ear, and yes, ‘cyborg flesh‘! It’s obvious that the applications are improving the lives of many. My question though remains – as we replace more and more of ourselves, possibly the brain itself within my lifetime, what happens to the essence of us that makes us human – the feelings, the emotions, the zillion unique reactions to various physical and mental stimuli?

    In this wonderful post titled “How not to be alone“, in which the author writes about how we have begun to prefer (diminished) technological substitutes to face-to-face communication, (I couldn’t help but remember this)  he quotes Simone Weil, “Attention is the rarest and purest form of generosity.” And from that statement I realised how the the narrative might come full circle – I remembered this post I had read a few months back. It mentions bots that have passed the Turing test (“test of a machine’s ability to exhibit intelligent behaviour equivalent to, or indistinguishable from, that of an actual human”) and has a compelling argument that while we’re singular entities with a complex design, we’re still just blueprints –  with many similarities. This also  entails that we’re building machines that can mimic, and evoke, our emotions. Thus, he writes, the era of artificial emotional intelligence is not far.

    Perhaps, in the future we will outsource our humanity and reverse roles – half-machine former humans who deal with each other in mechanical ways and go back home to a humanoid bot that will give it all the empathy and emotional anchoring needed. Or would it need it at all? 🙂

    until next time, be human, comment 😀

  • Once Upon A Time In Aparanta

    Sudeep Chakravarti

    I picked up this book because I liked Sudeep Chakravarti’s earlier work – Tin Fish. In both cases, the author sets up the story in very familiar and much ‘abused’ settings, but manages to give it a completely different and memorable treatment using his unique characters and narrative.

    In this case it is Goa – Aparanta – the Land at the Horizon. The characters are well defined and to some extent even familiar – Winston Almeida the power hungry thug and land-grabber, Fernandes the corrupt cop, Sergei the Russian drug lord, the politicians who abet them so long as they get their stake, Antonio the innkeeper who is concerned more about his marriage and is content to sit on the sidelines as the thug-politician-drug lord nexus pillages Goa, Dino Dantas the crusader who refuses to give up, and so on. Even Princess, a Brazilian transsexual who lends the eccentric touch to the mix, is made to blend in naturally. Small detours in the narrative provide context and colour to the secondary characters – Ida, Anastasia, the Professor etc.

    The reason it works is because like many good books, it adds the place as a character. Goa spills out of the pages – colorful people, unparalleled natural beauty, language which oozes flavours, the colonial hangover, the regular tourists who consider themselves locals, and their temporary versions who consider Goa’s pleasures a temporary answer to all their woes. The other reason is the prose – flexible enough to accommodate descriptions of Goa’s bountiful beauty as well as the satire that makes the brutality bearable.

    I was a bit disappointed with the ending, especially considering the chapters that preceded it. It felt like a compromise, very accommodating, and in stark contrast to the rest of the book which pulled no punches. However, it still remains a must read for anyone who loves Goa and has seen it change over the years. For others, it could be the story of a land and its citizens, the choices they make and the price they pay for ‘development’.